Modified Question

India has a rich history of storytelling and traditional forms of education. How can we use these storytelling techniques for education of newer ideas and technology?

Current Research

Indian folk art

Various forms of storytelling –

  • Jadopatia
  • Kavaad
  • Folios in Jain Manuscript
  • Katha Kalakshebam

I have expanded on just two of the topics I researched on below –


This is form of scroll painting from Bengal that usually talks of stories of God.


Post independence in India(1947), there were a lot of scroll produced which were commentaries on modern social progress.

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It is an act of “bringing the shrine to the people”

The doors on the Kawad have pictures that narrate a mythological tale, or stories from everyday life with a social message.

This art form too has been modified over time to talk about issues like women empowerment.

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How it works?

Kavad is a three-dimensional form of traditional Indian storytelling. A box unfolds to reveal pictures of episodes in a particular story, or more frequently in a series of stories about a particular character.


Some points I learnt – 

Folk art in India has always been very progressive in its content – it has always been what people need to hear at a given time and place.

Along with the paintings, the narration is what adds to the story.


Education and Storytelling

“Today we are bringing back story telling where audience are not consumers of ideas but participants in creating the ideas.”

“Stop saying stories about how great you are but how great your audience can be.”

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Some points I learnt – 

Storytelling is something that helps in education becoming inclusive

“Complicated” concepts can be made simple if communicated in engaging ways.

Today, even in places where we have a lot of hands on education – we are losing out on book -reading audience.


Previous related work

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Additional Concept Research

Thom Browne – went back to hand made products. “tradition is what happens when you uphold quality everyday”

Sol Lewitt – art that is not about the product but about the process. “Three-dimensional art of any kind is a physical fact. The physicality is its most obvious and expressive content. Conceptual art is made to engage the mind of the viewer rather than his eye or emotions. The physicality of a three-dimensional object then becomes a contradiction to its non-emotive intent. Color, surface, texture, and shape only emphasize the physical aspects of the work. Anything that calls attention to and interests the viewer in this physicality is a deterrent to our understanding of the idea and is used as an expressive device.”